According to Nettl in 2000, both language and music, regardless of the cultural aspects that are absent within a particular society such as perhaps the notion of numbers and counting, serve as traits ...
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According to Nettl in 2000, both language and music, regardless of the cultural aspects that are absent within a particular society such as perhaps the notion of numbers and counting, serve as traits that define every human society. While both language and music involve complex sequences of sound, cognitive science has not yet been able to fully explore such domains, and researchers today from various fields of expertise are now showing interest towards this interdisciplinary enterprise. This is because, in contrast to how examining the brains and behavior of animals may be simplified by the similarities between our various senses and experiences, human beings have a unique capability of making sense of different sounds. As humans possess two systems that are able to aid in processing complex acoustic sequences into distinct elements, cognitive science is provided with the opportunity to compare and contrast language and music to further understand such mechanisms.Less

Introduction

Aniruddh D. Patel

Published in print: 2007-12-06

According to Nettl in 2000, both language and music, regardless of the cultural aspects that are absent within a particular society such as perhaps the notion of numbers and counting, serve as traits that define every human society. While both language and music involve complex sequences of sound, cognitive science has not yet been able to fully explore such domains, and researchers today from various fields of expertise are now showing interest towards this interdisciplinary enterprise. This is because, in contrast to how examining the brains and behavior of animals may be simplified by the similarities between our various senses and experiences, human beings have a unique capability of making sense of different sounds. As humans possess two systems that are able to aid in processing complex acoustic sequences into distinct elements, cognitive science is provided with the opportunity to compare and contrast language and music to further understand such mechanisms.

The three key elements in the scientific study of animal communication are the sender, the receiver, and the interaction between the two. Senders produce a signal that is perceived by the receiver ...
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The three key elements in the scientific study of animal communication are the sender, the receiver, and the interaction between the two. Senders produce a signal that is perceived by the receiver and, operationally, communication occurs when the signal leads to an observable change in the behaviour of the receiver. Production and perception are integral to communication in general and both sides of the equation must be considered when studying acoustic communication in any particular species or in any animal group. This chapter takes this integrative approach and considers equally both production and perception, in an attempt to understand acoustic communication in the chickadees. The discussion begins with a look at the production and perception of fee-bees and chick-a-dees in both field and laboratory studies of chickadees. Studies that use operant techniques to tease apart the mechanisms by which note structure and sequence are classified are reviewed.Less

Chickadee vocal production and perception: An integrative approach to understanding acoustic communication

Published in print: 2007-02-01

The three key elements in the scientific study of animal communication are the sender, the receiver, and the interaction between the two. Senders produce a signal that is perceived by the receiver and, operationally, communication occurs when the signal leads to an observable change in the behaviour of the receiver. Production and perception are integral to communication in general and both sides of the equation must be considered when studying acoustic communication in any particular species or in any animal group. This chapter takes this integrative approach and considers equally both production and perception, in an attempt to understand acoustic communication in the chickadees. The discussion begins with a look at the production and perception of fee-bees and chick-a-dees in both field and laboratory studies of chickadees. Studies that use operant techniques to tease apart the mechanisms by which note structure and sequence are classified are reviewed.

This chapter summarizes investigations of a common vocalization in the repertoire of the black-capped chickadee. This vocalization, known as the gargle call, has an ontogeny that is dependent upon ...
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This chapter summarizes investigations of a common vocalization in the repertoire of the black-capped chickadee. This vocalization, known as the gargle call, has an ontogeny that is dependent upon learning occurring from early life through adulthood. As is the case for the territorial songs of a great many species of songbirds, social interactions most likely play a significant role in gargle call ontogeny. Thus, these calls evidently result from ‘socially biased individual learning,’ simply termed ‘social learning’ in this chapter. In examining the gargle call, this chapter gives a brief description of the call, provides information on the ontogeny of the call as it occurs in natural populations, and describes the fundamental features of the call, the nature and extent of sharing of calls by birds in a local area, and the similarities and changes in calls across time. Furthermore, observational and experimental evidence on the roles of the calls in the social lives of the birds is reported, and inferences are drawn about the ways social behaviour selects based on vocal convergence among birds in a local area, and the possible functional significance of convergence.Less

The gargle call of black-capped chickadees: ontogeny, acoustic structure, population patterns, function, and processes leading to sharing of call characteristics

Myron C. BakerDavid E. Gammon

Published in print: 2007-02-01

This chapter summarizes investigations of a common vocalization in the repertoire of the black-capped chickadee. This vocalization, known as the gargle call, has an ontogeny that is dependent upon learning occurring from early life through adulthood. As is the case for the territorial songs of a great many species of songbirds, social interactions most likely play a significant role in gargle call ontogeny. Thus, these calls evidently result from ‘socially biased individual learning,’ simply termed ‘social learning’ in this chapter. In examining the gargle call, this chapter gives a brief description of the call, provides information on the ontogeny of the call as it occurs in natural populations, and describes the fundamental features of the call, the nature and extent of sharing of calls by birds in a local area, and the similarities and changes in calls across time. Furthermore, observational and experimental evidence on the roles of the calls in the social lives of the birds is reported, and inferences are drawn about the ways social behaviour selects based on vocal convergence among birds in a local area, and the possible functional significance of convergence.

This chapter assesses the potential for postdispersal environments to influence song structure in the fee-bee of black-capped chickadees. This call is remarkably stereotyped throughout much of the ...
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This chapter assesses the potential for postdispersal environments to influence song structure in the fee-bee of black-capped chickadees. This call is remarkably stereotyped throughout much of the distribution of this species across North America, yet extreme cases of song variation in isolated populations gives insight into the nature of dialectal variation that arises through social isolation. The chapter begins by tackling the question ‘In what social and ecological circumstances should juveniles retain novel acoustic material as adults?’ A visual model of song learning is presented, and a hypothesis is considered that would explain how the environment following natal dispersal affects variation in the vocal output of a juvenile songbird. This hypothesis is tested using data from the fee-bee song of the black-capped chickadee. Finally, this chapter takes a broad look at cultural evolution and the origin and maintenance of song variation.Less

How postdispersal social environment may influence acoustic variation in birdsong

David E. Gammon

Published in print: 2007-02-01

This chapter assesses the potential for postdispersal environments to influence song structure in the fee-bee of black-capped chickadees. This call is remarkably stereotyped throughout much of the distribution of this species across North America, yet extreme cases of song variation in isolated populations gives insight into the nature of dialectal variation that arises through social isolation. The chapter begins by tackling the question ‘In what social and ecological circumstances should juveniles retain novel acoustic material as adults?’ A visual model of song learning is presented, and a hypothesis is considered that would explain how the environment following natal dispersal affects variation in the vocal output of a juvenile songbird. This hypothesis is tested using data from the fee-bee song of the black-capped chickadee. Finally, this chapter takes a broad look at cultural evolution and the origin and maintenance of song variation.

This chapter emphasizes the distinction between intelligible synthetic speech and natural-sounding synthetic speech: expressive and emotive content contribute greatly to naturalness. All natural ...
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This chapter emphasizes the distinction between intelligible synthetic speech and natural-sounding synthetic speech: expressive and emotive content contribute greatly to naturalness. All natural speech has expressive content; no natural speech is ever neutral. It follows that synthetic speech must incorporate expressive and emotive content in order to create natural-sounding speech, although the acoustic parameters of expression have not been adequately determined. The advantages and disadvantages of formant and concatenative synthesis for synthesizing expressive and emotive content are outlined.Less

Expression in Synthetic Speech

Mark TathamKatherine Morton

Published in print: 2003-10-16

This chapter emphasizes the distinction between intelligible synthetic speech and natural-sounding synthetic speech: expressive and emotive content contribute greatly to naturalness. All natural speech has expressive content; no natural speech is ever neutral. It follows that synthetic speech must incorporate expressive and emotive content in order to create natural-sounding speech, although the acoustic parameters of expression have not been adequately determined. The advantages and disadvantages of formant and concatenative synthesis for synthesizing expressive and emotive content are outlined.

This chapter emphasizes the goal of the speaker as the production of a speech waveform containing the components, which will trigger adequate perception in the listener. Current limitations to ...
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This chapter emphasizes the goal of the speaker as the production of a speech waveform containing the components, which will trigger adequate perception in the listener. Current limitations to characterizing acoustic triggers are discussed, including the listener’s ability to differentiate acoustic signals and the non-linearity in the relation between the signal and listener. The relationship between rendering the speaker’s plan and the ability to assign a perceptually useful label to the speech waveform is emphasized.Less

The Perception of Expression

Mark TathamKatherine Morton

Published in print: 2003-10-16

This chapter emphasizes the goal of the speaker as the production of a speech waveform containing the components, which will trigger adequate perception in the listener. Current limitations to characterizing acoustic triggers are discussed, including the listener’s ability to differentiate acoustic signals and the non-linearity in the relation between the signal and listener. The relationship between rendering the speaker’s plan and the ability to assign a perceptually useful label to the speech waveform is emphasized.

This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information ...
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This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information about the speaker’s identity (gender, age, education, etc.), the speaker’s attitude and feelings toward the listener, and the nature of what is being said. Adding this to synthesis presents problems, including determining the most useful type of synthesizer, incorporating a proposed prosodic wrapper for speech, linking parameters of emotive content with acoustic parameters, and with underlying theory constructs such as category labels or parameters for driving the synthesizer. The relationship between high- and low-level synthesis, and how to incorporate a range of emotive content and voice quality are discussed.Less

Emotion in Speech Synthesis

Mark TathamKatherine Morton

Published in print: 2003-10-16

This chapter emphasizes the notion that human speech is listener-centred; speech is intended to be heard and understood. Adding expressive and emotive content provides the listener with information about the speaker’s identity (gender, age, education, etc.), the speaker’s attitude and feelings toward the listener, and the nature of what is being said. Adding this to synthesis presents problems, including determining the most useful type of synthesizer, incorporating a proposed prosodic wrapper for speech, linking parameters of emotive content with acoustic parameters, and with underlying theory constructs such as category labels or parameters for driving the synthesizer. The relationship between high- and low-level synthesis, and how to incorporate a range of emotive content and voice quality are discussed.

This chapter introduces some aspects of linguistics that may be helpful in labelling emotive content of speech. The following questions are asked: Are speech and emotion separate events or does ...
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This chapter introduces some aspects of linguistics that may be helpful in labelling emotive content of speech. The following questions are asked: Are speech and emotion separate events or does speech occur within the context of emotion? Is a uniqueness hypothesis more useful than a modulation hypothesis? How context sensitive is expressive content? What might be the function of prosodic patterns in triggering perception of expressive and emotive content? What are some acoustic correlates of speech production and perception? Can linguistics and phonetics theory and models provide useful descriptive labels for characterizing expression in speech?Less

The Linguistics, Phonology, and Phonetics Perspective

Mark TathamKatherine Morton

Published in print: 2003-10-16

This chapter introduces some aspects of linguistics that may be helpful in labelling emotive content of speech. The following questions are asked: Are speech and emotion separate events or does speech occur within the context of emotion? Is a uniqueness hypothesis more useful than a modulation hypothesis? How context sensitive is expressive content? What might be the function of prosodic patterns in triggering perception of expressive and emotive content? What are some acoustic correlates of speech production and perception? Can linguistics and phonetics theory and models provide useful descriptive labels for characterizing expression in speech?

This chapter defines expressive speech as used in this book. The concept of a composite acoustic waveform is presented, consisting of two components: the basic message and expression. The speaker ...
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This chapter defines expressive speech as used in this book. The concept of a composite acoustic waveform is presented, consisting of two components: the basic message and expression. The speaker plans an utterance, a listener assigns labels to that utterance, and arrives at a percept which recovers the intended message. This differs from other models which do not emphasize the assignment of labels or symbolic representation to the waveform. Another difference is the proposal that speaking occurs within an overall expressive wrapper. Short term and long term expression is discussed and the role of the listener is emphasized.Less

The Beginnings of a Generalized Model of Expression

Mark TathamKatherine Morton

Published in print: 2003-10-16

This chapter defines expressive speech as used in this book. The concept of a composite acoustic waveform is presented, consisting of two components: the basic message and expression. The speaker plans an utterance, a listener assigns labels to that utterance, and arrives at a percept which recovers the intended message. This differs from other models which do not emphasize the assignment of labels or symbolic representation to the waveform. Another difference is the proposal that speaking occurs within an overall expressive wrapper. Short term and long term expression is discussed and the role of the listener is emphasized.

This chapter discusses neutral speech and expressive speech. A model is presented which proposes that all speech is expressive, and that speaking occurs within an expression wrapper. Neutral speech ...
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This chapter discusses neutral speech and expressive speech. A model is presented which proposes that all speech is expressive, and that speaking occurs within an expression wrapper. Neutral speech is a type of speaking which has the expressive content set to ‘neutral’, i.e., the parameters of expressive speech are set to near zero. The concept of an expression envelop is explained — a message is modulated onto a prosodic carrier. The possibility of relating emotion expression to the acoustic waveform is presented.Less

All Speech is Expression-Based

Mark TathamKatherine Morton

Published in print: 2003-10-16

This chapter discusses neutral speech and expressive speech. A model is presented which proposes that all speech is expressive, and that speaking occurs within an expression wrapper. Neutral speech is a type of speaking which has the expressive content set to ‘neutral’, i.e., the parameters of expressive speech are set to near zero. The concept of an expression envelop is explained — a message is modulated onto a prosodic carrier. The possibility of relating emotion expression to the acoustic waveform is presented.

This chapter presents Reich's account of his composition of Drumming between the fall of 1970 and the fall of 1971. To the frequent question of what influence his visit to Africa in the summer of ...
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This chapter presents Reich's account of his composition of Drumming between the fall of 1970 and the fall of 1971. To the frequent question of what influence his visit to Africa in the summer of 1970 had on Drumming, Reich answers confirmation. It confirmed his intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments, as well as confirming his natural inclination toward percussion.Less

Drumming (1971)

Steve Reich

Published in print: 2004-10-28

This chapter presents Reich's account of his composition of Drumming between the fall of 1970 and the fall of 1971. To the frequent question of what influence his visit to Africa in the summer of 1970 had on Drumming, Reich answers confirmation. It confirmed his intuition that acoustic instruments could be used to produce music that was genuinely richer in sound than that produced with electronic instruments, as well as confirming his natural inclination toward percussion.

This chapter distinguishes between dissonance and discord. Dissonance is the property of attraction or repulsion between notes of different pitch, giving rise to a sense of instability or ...
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This chapter distinguishes between dissonance and discord. Dissonance is the property of attraction or repulsion between notes of different pitch, giving rise to a sense of instability or restlessness. Discord is the property of acoustic roughness between simultaneously sounding notes.Less

Dissonance and Discord

Peter van der Merwe

Published in print: 2004-12-09

This chapter distinguishes between dissonance and discord. Dissonance is the property of attraction or repulsion between notes of different pitch, giving rise to a sense of instability or restlessness. Discord is the property of acoustic roughness between simultaneously sounding notes.

This chapter provides an overview of the sounds and vocalizations that Sumatran and Bornean orangutans produce. The current data set indicates that there are at least 32 different orangutan sounds ...
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This chapter provides an overview of the sounds and vocalizations that Sumatran and Bornean orangutans produce. The current data set indicates that there are at least 32 different orangutan sounds and vocalizations that can be distinguished. Interestingly enough not all of these are produced by all individuals in all populations and several occur only in certain populations, but not in others. These preliminary findings indicate that there might be socially learned variation in orangutan sounds and that the cultural domain includes sounds. Future studies should examine such possibilities in detail.Less

A description of the orangutan's vocal and sound repertoire, with a focus on geographic variation

Published in print: 2008-12-11

This chapter provides an overview of the sounds and vocalizations that Sumatran and Bornean orangutans produce. The current data set indicates that there are at least 32 different orangutan sounds and vocalizations that can be distinguished. Interestingly enough not all of these are produced by all individuals in all populations and several occur only in certain populations, but not in others. These preliminary findings indicate that there might be socially learned variation in orangutan sounds and that the cultural domain includes sounds. Future studies should examine such possibilities in detail.

The increasing popularity of the field of Sound Studies marks the sonic turn in cultural studies since the millennium. This compilation draws on a number of diverse fields, including journalism, ...
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The increasing popularity of the field of Sound Studies marks the sonic turn in cultural studies since the millennium. This compilation draws on a number of diverse fields, including journalism, history, cultural studies, music, architecture, and art history, to ask what Germany sounds like. The book is divided into five sections, organized thematically. The first section, “New Sounds in the Twentieth Century,” considers the rise of urban sound in the early 1900s and the radio play in the post-war years. Section two, “Defining Space through Sound,” focuses on the interactions between sound and space, particularly the very different soundscapes of the battlefield and the concert hall. Section three considers the divergent sounds of East and West Germany, through interviews and literature, and section four, “The Politics of Sound,” deals with music in socialist East Germany and the power structures inherent in acoustic surveillance. Finally, “Soundscapers of the Millennium” looks at sound art and hip-hop as two examples of the creative and political possibility of sound. Together the chapters consider the acoustic fingerprint of Germany, the cultural significance of sounds and space in the German context, spanning more than a century from the development and rise of sound-recording and sound-disseminating technologies in the early 1900s to today. This book is designed as an introduction to the topic and is accompanied by online teaching materials.Less

Germany in the Loud Twentieth Century : An Introduction

Published in print: 2011-11-30

The increasing popularity of the field of Sound Studies marks the sonic turn in cultural studies since the millennium. This compilation draws on a number of diverse fields, including journalism, history, cultural studies, music, architecture, and art history, to ask what Germany sounds like. The book is divided into five sections, organized thematically. The first section, “New Sounds in the Twentieth Century,” considers the rise of urban sound in the early 1900s and the radio play in the post-war years. Section two, “Defining Space through Sound,” focuses on the interactions between sound and space, particularly the very different soundscapes of the battlefield and the concert hall. Section three considers the divergent sounds of East and West Germany, through interviews and literature, and section four, “The Politics of Sound,” deals with music in socialist East Germany and the power structures inherent in acoustic surveillance. Finally, “Soundscapers of the Millennium” looks at sound art and hip-hop as two examples of the creative and political possibility of sound. Together the chapters consider the acoustic fingerprint of Germany, the cultural significance of sounds and space in the German context, spanning more than a century from the development and rise of sound-recording and sound-disseminating technologies in the early 1900s to today. This book is designed as an introduction to the topic and is accompanied by online teaching materials.

This chapter discusses the physics of complex (dusty) plasmas — low-temperature plasmas containing charged microparticles — and the major types of experimental dusty plasmas. Various elementary ...
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This chapter discusses the physics of complex (dusty) plasmas — low-temperature plasmas containing charged microparticles — and the major types of experimental dusty plasmas. Various elementary processes, including grain charging in different regimes, interaction between charged particles, and momentum exchange between different species are investigated. The major forces on microparticles and features of the particle dynamics in dusty plasmas are described. An overview of the wave properties in different phase states, as well as results on the phase transitions between different crystalline and liquid states are presented. Special attention is given to “crystallization” of dusty plasmas. Results of investigations of dusty plasmas under microgravity conditions are discussed in detail. Properties of plasmas with nonspherical particles are considered. Possible applications of dusty plasmas and new directions in experimental research are considered.Less

DUSTY PLASMAS

V. E. FortovI. T. IakubovA. G. Khrapak

Published in print: 2006-11-09

This chapter discusses the physics of complex (dusty) plasmas — low-temperature plasmas containing charged microparticles — and the major types of experimental dusty plasmas. Various elementary processes, including grain charging in different regimes, interaction between charged particles, and momentum exchange between different species are investigated. The major forces on microparticles and features of the particle dynamics in dusty plasmas are described. An overview of the wave properties in different phase states, as well as results on the phase transitions between different crystalline and liquid states are presented. Special attention is given to “crystallization” of dusty plasmas. Results of investigations of dusty plasmas under microgravity conditions are discussed in detail. Properties of plasmas with nonspherical particles are considered. Possible applications of dusty plasmas and new directions in experimental research are considered.

This chapter reviews the use of surface acoustic waves (SAWs) in an electron-spin based quantum state processor. A SAW-induced electric current of discrete single or controllable numbers of ...
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This chapter reviews the use of surface acoustic waves (SAWs) in an electron-spin based quantum state processor. A SAW-induced electric current of discrete single or controllable numbers of electrons, which can interact and become entangled, is discussed. Variable g-factor materials are proposed as a means of applying electrical control to single-qubit rotation and as a form of optical input and readout. The processing scheme can be used as a component in a quantum communications network.Less

THE ACOUSTIC-WAVE DRIVEN QUANTUM PROCESSOR

C. H. W. BarnesM. Pepper

Published in print: 2007-12-13

This chapter reviews the use of surface acoustic waves (SAWs) in an electron-spin based quantum state processor. A SAW-induced electric current of discrete single or controllable numbers of electrons, which can interact and become entangled, is discussed. Variable g-factor materials are proposed as a means of applying electrical control to single-qubit rotation and as a form of optical input and readout. The processing scheme can be used as a component in a quantum communications network.

This chapter reviews the recently proposed concept of resonant acousto-optics, when interaction between the light and acoustic waves is mediated and strongly enhanced by the polarization field ...
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This chapter reviews the recently proposed concept of resonant acousto-optics, when interaction between the light and acoustic waves is mediated and strongly enhanced by the polarization field associated with either excitons (i.e., visible spectral band) or TO-phonons (THz band). For the resonant acousto-optics, both dominant interactions — the polarization-light coupling (polariton effect) and the interaction of the polarization wave with the acoustically-induced grating — are treated non-perturbatively (strong coupling regime) and on an equal basis.Less

ACOUSTICALLY INDUCED SUPERLATTICES: FROM PHOTONS AND ELECTRONS TO EXCITONS, TO-PHONONS AND POLARITONS

A. L. Ivanov

Published in print: 2007-12-13

This chapter reviews the recently proposed concept of resonant acousto-optics, when interaction between the light and acoustic waves is mediated and strongly enhanced by the polarization field associated with either excitons (i.e., visible spectral band) or TO-phonons (THz band). For the resonant acousto-optics, both dominant interactions — the polarization-light coupling (polariton effect) and the interaction of the polarization wave with the acoustically-induced grating — are treated non-perturbatively (strong coupling regime) and on an equal basis.

Andrei Belyi (1880–1934) is generally regarded as the greatest and most influential prose-writer to emerge from the Symbolist movement in Russia at the turn of the 20th century. His early prose ...
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Andrei Belyi (1880–1934) is generally regarded as the greatest and most influential prose-writer to emerge from the Symbolist movement in Russia at the turn of the 20th century. His early prose ‘symphonies’ and novels are often compared with the work of such European ‘modernists’ as Joyce and Proust. This book attempts an analysis of the place of Belyi's fiction within the modernist prose tradition in Russia; a tradition which has been obscured by decades of ideological distortion. Paradoxically, Belyi himself, a mystic by nature who sought only transcendent certainty from the flux of experience, would have been reluctant to claim this tradition as his own. This book demonstrates the inadequacy of the various ‘isms’ (Symbolism, Impressionism, etc.) which have until recently bedevilled most critical attempts to sort out the prose of the period, giving an overview of Belyi criticism from both within and outside the Soviet Union. The book includes a detailed analysis of Belyi's prose works, paying attention to his philosophical and literary influences, including reading of Kant and Gogol and its particular effect upon his theory and practice, and locating him in his own Russian context. Sections devoted to Belyi's greatest novel, Petersburg, and other works, such as The Silver Dove and Dramatic Symphony, analyse Belyi's use of structure and plot, leitmotifs and acoustic symbolism. The book marks Belyi's attempts to reconcile the Symbolist vision of the writer as having revelatory mystical authority with the concept of ‘perspectivism’, implied author, narrator and character offering a number of different voices which cannot claim cognitive authority beyond the fictional context in which they occur.Less

The Reluctant Modernist : Andrei Belyi and the Development of Russian Fiction, 1902-1914

Roger Keys

Published in print: 1996-06-06

Andrei Belyi (1880–1934) is generally regarded as the greatest and most influential prose-writer to emerge from the Symbolist movement in Russia at the turn of the 20th century. His early prose ‘symphonies’ and novels are often compared with the work of such European ‘modernists’ as Joyce and Proust. This book attempts an analysis of the place of Belyi's fiction within the modernist prose tradition in Russia; a tradition which has been obscured by decades of ideological distortion. Paradoxically, Belyi himself, a mystic by nature who sought only transcendent certainty from the flux of experience, would have been reluctant to claim this tradition as his own. This book demonstrates the inadequacy of the various ‘isms’ (Symbolism, Impressionism, etc.) which have until recently bedevilled most critical attempts to sort out the prose of the period, giving an overview of Belyi criticism from both within and outside the Soviet Union. The book includes a detailed analysis of Belyi's prose works, paying attention to his philosophical and literary influences, including reading of Kant and Gogol and its particular effect upon his theory and practice, and locating him in his own Russian context. Sections devoted to Belyi's greatest novel, Petersburg, and other works, such as The Silver Dove and Dramatic Symphony, analyse Belyi's use of structure and plot, leitmotifs and acoustic symbolism. The book marks Belyi's attempts to reconcile the Symbolist vision of the writer as having revelatory mystical authority with the concept of ‘perspectivism’, implied author, narrator and character offering a number of different voices which cannot claim cognitive authority beyond the fictional context in which they occur.

This book examines tinnitus from the viewpoint of a neuroscientist with a long background in translational research. Therefore the book focuses on the understanding of the mechanisms that underlie ...
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This book examines tinnitus from the viewpoint of a neuroscientist with a long background in translational research. Therefore the book focuses on the understanding of the mechanisms that underlie tinnitus and is based on data-driven approaches to characterize its properties in humans and in animal models. It is hoped that a better and coherent understanding of the findings from the various neuroscience methods, ranging from brain imaging, electrophysiology, and quantifying the subjective aspects of tinnitus, to molecular biology and genetic aspects, will lead to more and better science driven approaches to alleviate tinnitus and ultimately produce a cure. For the backbone for the book three well-researched animal models of tinnitus, the salicylate, noise trauma, and somatic models, and in addition, the hypersynchrony model that is aimed at the integration of these three models were used. The reasons to use these models are found in human research, which is extensively described. An extensive discussion of the pros and cons of behavioral animal models that are employed to decide whether an animal has tinnitus is presented. The book advocates the role that modified brain networks may play in generating and maintaining tinnitus. This is the most speculative part of the book. Epidemiology and etiology, and evidence-based management of tinnitus have their own place at the beginning and end of this book.Less

The Neuroscience of Tinnitus

Jos J. Eggermont

Published in print: 2012-05-17

This book examines tinnitus from the viewpoint of a neuroscientist with a long background in translational research. Therefore the book focuses on the understanding of the mechanisms that underlie tinnitus and is based on data-driven approaches to characterize its properties in humans and in animal models. It is hoped that a better and coherent understanding of the findings from the various neuroscience methods, ranging from brain imaging, electrophysiology, and quantifying the subjective aspects of tinnitus, to molecular biology and genetic aspects, will lead to more and better science driven approaches to alleviate tinnitus and ultimately produce a cure. For the backbone for the book three well-researched animal models of tinnitus, the salicylate, noise trauma, and somatic models, and in addition, the hypersynchrony model that is aimed at the integration of these three models were used. The reasons to use these models are found in human research, which is extensively described. An extensive discussion of the pros and cons of behavioral animal models that are employed to decide whether an animal has tinnitus is presented. The book advocates the role that modified brain networks may play in generating and maintaining tinnitus. This is the most speculative part of the book. Epidemiology and etiology, and evidence-based management of tinnitus have their own place at the beginning and end of this book.